Paper-cutting · Chinese Craft Stories

01 · Historical Records

Xiuyan Manchu papercutting, popular in Xiuyan Manchu Autonomous County of Liaoning Province, began in the early 17th century when the Manchu people entered Xiuyan, and has a history of more than three hundred years to date. The Manchu people traditionally use hanging flags to worship their ancestors; this practice promoted the development of papercutting and further evolved into a variety of styles such as window flowers, ceiling-shed flowers, and lantern flowers, which were widely applied in folk Manchu custom activities such as weddings and funerals. Xiuyan lies in the mountainous area of eastern Liaoning and was a settlement area of the Manchu people in the Qing dynasty. Papercutting was introduced here and took root along with the sacrificial and living customs of the Manchu people. When local households mark a happy event they cut dragons, phoenixes, and the double-happiness character in red paper; for a funeral they cut round flowers and paper streamers in white paper; and at New Year and festivals they cut hanging flags, window flowers, or gourds. Both colors and styles are determined by ritual custom.

02 · Core Techniques & Process

Xiuyan Manchu papercutting is vigorous and bold, plain yet refined, with exaggerated and fantastic forms, exuding a strong rustic flavor while preserving the Manchu people's ancient cultural traditions and ethnic characteristics. Farmwomen of Xiuyan such as Liu Jiying and Zhao Xiuzhi are master creators of Xiuyan papercutting. The traditional-style works they cut—"Thousand Butterflies Picture," "Lion Sporting with an Embroidered Ball," and "Playing Tiger Picture"—can be regarded as representative works of Xiuyan Manchu papercutting. Xiuyan Manchu papercutting uses a concise cutting method, usually starting with symmetrical folding; the cut falls decisively, with large flat areas and few lines, relying on the silhouette and red-white contrast for effect. Common subjects include butterflies, lions, tigers, dragons and phoenixes, round flowers, and Manchu figures, used mainly for windows, ceiling sheds, and lanterns, as well as for wedding joy flowers and patterns for trunks and cabinets.

Colour rules for weddings and funerals

Red paper with dragons, phoenixes and double-happiness marks weddings; white paper with rosettes and banners marks funerals; flags and gourds appear at New Year.

Hanging flags and Manchu ancestor worship

Dating from the early seventeenth century, it grew out of the hanging flags used to honour Manchu ancestors and branched into window, ceiling and lantern flowers.

Thousand Butterflies, Lion and Ball, Tiger at Play

Village women such as Liu Jiying and Zhao Xiuzhi were leading cutters whose Thousand Butterflies and Lion and Ball rank as representative works.

Leading village cutters Liu Jiying and Zhao Xiuzhi

Passed down among farming women, the art found its finest exponents in Liu Jiying and Zhao Xiuzhi, whose work keeps the old Manchu tradition alive.

03 · Regional Records & Related Items

Xiuyan Manchu papercutting is closely integrated with local social customs. For happy events, dragons, phoenixes, and the double-happiness character are cut in red paper in celebration; for funerals, round flowers and paper streamers are cut in white paper in mourning; and at New Year and festivals, hanging flags, window flowers, or gourds are cut to heighten the festive atmosphere. Over its long evolution, Xiuyan Manchu papercutting has merged the Manchu and Han traditions, forming a distinctive character with both a plain Manchu quality and the influence of papercutting from China proper (within the Passes). Local women are mostly able to cut, and the skill is transmitted from mother to daughter within families; exchanging patterns and swapping designs at New Year and festivals is a common way of passing on and learning the art.

04 · Cultural Value & Contemporary Safeguarding

Through its tortuous evolution, Xiuyan Manchu papercutting has developed a Manchu-Han fusion character, displaying distinct regional features and considerable research value for folk art. At present, as the older generation of artists gradually dwindles and the younger generation lacks interest in learning and transmitting the art, Xiuyan Manchu papercutting is declining day by day, faces the danger of being lost, and urgently needs further strengthened protection. The Cultural Center of Xiuyan Manchu Autonomous County is the protecting unit for this project, responsible for investigation, documentation, and transmission training. At present the older generation of artists is gradually dwindling and the younger generation has insufficient interest in learning the craft, so skill transmission faces difficulties.

05 · Associated Representative Bearers

Representative bearers recorded under this item, organized by national nomination batch:

06 · Authoritative Sources & Bibliography

Paper-cutting (Xiuyanmanzuzizhi, Liaoning) · China ICH Official Project Archive

Sources

China Intangible Cultural Heritage Network (ihchina.cn)

Read the official ihchina.cn record ↗